Vidas: Let’s start Episode 107 of #AskVidasAndAusra podcast. This question was sent by Brice, and here is how it sounds:
“When I learn a piece of music depending on its difficulty I can learn it in several hours, or several days, several weeks or 1 to 2 months. Don't mind taking a lot of time to learn to music, but I'd like it so that I can get myself up to the level where I read simple pieces of music down to less than an hour if not 30 to 20 minutes to learn. Or be able to just sight read such a easy piece.” Basically, this question is about the level of fluency in sight-reading, yes Ausra? Ausra: Yes, or learning music faster. Vidas: So we probably have to advise people to just keep practicing sight-reading, right? Ausra: Yes, I think that would be the easiest way to reach the level you want to be at. Vidas: Of course, Brice is concerned about the time it takes to do this, right? The amount of practice. Ausra: Yes. Vidas: Apparently, the level of skill is getting better--but too slowly for Brice. Ausra: Well, it would be excellent in such a case to find a church position, if he doesn’t have one. That way, you would just be forced to do it. Vidas: Every week. Ausra: Yes, every week… Vidas: Maybe several times a week. Ausra: Maybe several services a week, and new repertoire all the time--prelude, postlude, offering, hymns...And this would make things easier after a while. Of course, you would suffer at first; you would have to play a lot, but eventually it would get easier. Vidas: I struggled with sight-reading for a very long time. I remember my first piece was, I think, “Jesu meine Freude” from Orgelbüchlein. In the 10th grade, my teacher gave it to me, to choose from any chorale; and I chose this piece. And I couldn’t sight-read even the hands part fluently enough at a slow tempo. I was struggling at the level that I even didn’t understand how the piece is put together. What about you? Ausra: Well yes, I basically was a good sight-reader from a very early age; but the thing is that after playing music the second time, it wouldn’t get much better than sight-reading it! So I had my struggles, too. But I remember when I worked at a Christian Scientist church while I was studying in Michigan--well, it was a nice job, actually, to have. But I remember each week, the reader who would lead service that Sunday would call me and leave the hymn numbers on my answering machine, in order for me to be able to learn them for Sunday. And first of all, yes I would do that: I would play them, prepare them in advance, be worried that everything would go well; but after maybe playing for like half a year in that church, I would never play those hymns in advance--I would never prepare them in advance. I would just show up on Sunday and play for the service. Because I didn’t need to do it. Vidas: You were good enough? Ausra: Yes, yes. Vidas: Mhm. For me, I think, the struggle continued even until late years in America, I think. But yes, this position that we both shared--Grace Lutheran Church, but even earlier in Michigan, I worked in Ypsilanti Missouri Synod Lutheran Church there; and I also had to provide a lot of hymns, preludes, postludes, communion music, offertories, regularly, sometimes several times a week, even for funerals. So gradually, I found out that really, I’m getting better at this. I hated to spend too much time with learning the music, so I really sightread everything. So after maybe 2 months of doing this intensely, I suddenly realized a breakthrough. Ausra: Yes. And of course, your theoretical background--of understanding the theory of music--is also very important in order to be able to learn music fast or sight-read well. Because knowing all those clefs and key signatures--that’s what makes you to sight-read music easily. Vidas: Basically, your brain has to connect the dots for you-- Ausra: Sure, sure. Vidas: To know the meaning behind the notes. Ausra: That’s right. Because usually, you know, if you read a piece of music in C Major, it’s easier than to read, for example, music in D♭ Major. Vidas: Mhm. Ausra: The more key accidentals you get, the harder it is. And of course, it’s easy to sight-read, let’s say, a hymn, because it might have like, a few secondary dominants; but that’s almost the hardest theoretical thing you can get in a hymn. But if you are learning a piece of music from such a composer as Max Reger, for example, which has such chromatic harmony… Vidas: Or Louis Vierne. Ausra: Yes. So, it adds much more difficulty. Vidas: I think people should not rush into very advanced pieces too early. Ausra: Yes; and you know, I think if you want to sight-read music fast and well, and be able to learn music fast enough, you need to pick up easy repertoire for beginners. Vidas: Mhm. Ausra: There are some very good examples of music that sounds good, but it’s not as hard to learn, for beginners. Like, for example, Frescobaldi’s “Fiori Musicali”. That’s a wonderful collection for church musicians. Or you know, if you want Romantic music, pick up Cesar Franck’s “L’Organiste”. That’s an excellent collection. Vidas: Or Alexandre Guilmant wrote Practical Organist and Liturgical Organist. Those collections also have short pieces based sometimes on chants, sometimes not on chants; but they’re suited for church playing. And they’re beautiful pieces, but not too difficult. Ausra: Yes. Vidas: And sometimes they are with pedal, sometimes without; you can have optional pedal lines, like for harmonium, without any pedals; but you can add pedals, playing the bass with your feet. Ausra: Yes. So if you don’t have much time to prepare your music, pick up easy music for beginners; and then together with that, at the same time, you can learn (slower) harder pieces. Vidas: Another thing to consider is to start improvising. Right? It does help, too. Ausra: Well, yes, it does help, too, but it will not make you a better sight-reader. Vidas: Why not? Ausra: Because when you improvise, you don’t have a music score in front of you. And I think if you just improvise, eventually you might not be able to play from the sheet music at all. That’s my opinion. Vidas: Here I agree with you, but I also have another perspective on this. If you improvise freely from your imagination, then yes, the skill of reading music is something different. But if you are thinking in terms of harmony and counterpoint, like the piece is really written out in your mind, then it helps, eventually. Ausra: Well, I see your point; but improvisation like this, as you described it, will take you even more time than learning music from the score. Vidas: So guys, choose whatever works for you. We’re only sharing our perspectives and experiences, right? Ausra: Yes. Vidas: Wonderful. And of course, apply our tips in your practice, if you like them. That makes all the difference. And please send us more of your questions; we love helping you grow. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
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Welcome to Secrets of Organ Playing Podcast #120!
Today's guest is Dr. Pamela Ruiter-Feenstra who is an American organist, international performer, composer, liturgical musician, scholar, and pedagogue. She returns to our show to introduce our listeners to the newly published Vol. 2 of her treatise "Bach and the Art of Improvisation". Here's our previous conversation about Vol. 1. Simultaneously revolutionary and realistic, Pamela Ruiter-Feenstra resuscitates historic improvisation from relevant treatises and documentation of Bach's improvisation pedagogy in counterpoint with tried and true applications. She incrementally guides the reader from improvising cadences, chorales, partitas, and dances in Volume One to improvising interludes & cadenzas, preludes, fantasias, continuo playing, and ultimately, fugues in Volume Two of Bach and the Art of Improvisation. The chapters on continuo playing alone beckon reform of current practice. Pamela invites those willing to immerse themselves in improvisation to embody consummate musicianship as theory, history, aural perception, and soul-communicative playing come to life in practice and performance. Enjoy and share your comments below. And don't forget to help spread the word about the SOP Podcast by sharing it with your organist friends. And if you like it, please head over to iTunes and leave a rating and review. This helps to get this podcast in front of more organists who would find it helpful. Thanks for caring. Listen to the conversation Relevant links: http://www.pamelaruiterfeenstra.com/bach__the_art_of_improvisation_2 http://www.pamelaruiterfeenstra.com/bach__continuo_bai_2_audio/ Vidas: Let’s start Episode 106 of #AskVidasAndAusra podcast. And this question was sent by Collins, and he writes that he needs the Hallelujah Chorus by Handel, with sheet music and fingering... for piano. Ausra, do we have something for him?
Ausra: Well, actually, we have the organ version of the Hallelujah Chorus, with fingering. Vidas: That’s right. Some time ago, I edited the old edition from the John Ebenezer West (from the 19th century, beginning of the 20th century) arrangement from the Messiah Hallelujah Chorus, and it is for organ with pedals. Can Collins play something from this collection on the piano, too? Vidas: Definitely. I think he can do it perfectly on the piano; he just has to omit the pedal part. Ausra: But basically, as I’m looking at the score, the pedal part sort of doubles the LH’s part. Vidas: That’s right. Ausra: Or at least some of it. Vidas: Sometimes it doubles, and sometimes it plays one octave lower. Ausra: Yes. So basically, you could play that on the piano easily, I think. Vidas: And it has my fingerings written in, right? Ausra: Yes, yes. Vidas: Is it a good help for people, do you think? Ausra: I think it is, especially because in this chorus, the texture is so thick; so fingering really helps. Vidas: Mhm. So, if you were at the beginning stages, maybe early intermediate stages, and you wanted to play something for your church, let’s say on Christmas, right? Ausra: Yes. Vidas: Or on Easter, whatever the case is--would you be able to learn it by yourself? This piece? Ausra: Well, it’s not an easy piece to play, for a beginner. You have to have some sort of technique. Vidas: It’s like an early intermediate level piece. Ausra: Yes; yes, yes. But I know that this chorus is so popular that you might find various arrangements, even for beginners, where maybe some voices are just omitted to make it playable. Vidas: What are the 2 most important voices in any choir piece, let’s say? Ausra: I think the soprano and the bass. Vidas: And the bass. Ausra: Yes. Vidas: So guys, if you want to play something from the choir repertoire, and you are only able to play just one voice in each hand, you can do this by simply playing soprano and bass. It’s like playing hymns, right? Ausra: Yes, that’s right. Sometimes it’s enough to just have soprano and bass; and later, when your technique will improve, you will add other voices. Vidas: Have you heard anybody playing hymns like this? Ausra: Yes, I have heard it. Vidas: Did you like it? Ausra: Well, I wouldn’t like it if they played like that forever, all the time; but sometimes, yes, it’s very nice. Vidas: Some verses, right? Not every verse. Ausra: Yes, yes. Vidas: Some verses. And of course, you can play the tune in the soprano, but you can also play the tune in the bass. Ausra: That’s right, yes. Vidas: Reverse the order of voices--use the changeable counterpoint. Ausra: Yes, that’s right. Vidas: We’re looking at the score now, of Hallelujah Chorus. What would be the first step for you, Ausra, when you would try to learn this piece? Would you play RH only? Or both hands together? Ausra: If I were a beginner? Vidas: Intermediate--early intermediate. Ausra: Okay. I would learn RH first and then LH. Vidas: We have experience with children, right? With children at the National Čiurlionis School of Art. And a lot of children also play a similar type of texture, right? Do you think--omitting the pedals, now, let’s just take a look at this as if it’s a piano piece--what kind of level, what kind of grade would it be,for pianists? 7th grade? Ausra: Well, you know, if you would take piano majors… Vidas: They could easily play it earlier, right? Ausra: Yes, definitely. Vidas: But let’s say choir conductors, who have just a couple of lessons a week. Ausra: I would say maybe 6th grade. Vidas: 6th grade, yeah. So...they have been playing piano for 6 years. Ausra: Yes. Vidas: Every week. Right. And let’s say, you were a 6th grader, and you would play at first, just RH, right? Ausra: Yes, if I were an intelligent 6th grader. Because usually kids just want to play both hands together. Vidas: Right away? Ausra: Right away, yes. Vidas: Mhm. Alright, so would you learn this piece from the beginning until the end, or just, let’s say, one line at a time? Ausra: It would depend on how much time I would have; but I would not suggest to play the entire piece from beginning to end. Vidas: It seems like in every line, there are 3 or 4 measures, right? Ausra: Yes. Vidas: So it’s a nice fragment to work on without stopping. Ausra: Yes, it is, yes. Maybe at the beginning I would sight-read it with both hands from the beginning to the end, and then I would just learn it in tinier pieces. Vidas: Why is it important at the beginning to sight-read the piece? Ausra: In order to get the feeling of it. Vidas: You have to get familiar with how it sounds… Ausra: Yes, yes, that’s right, yes. Vidas: Both hands, even if it’s an organ piece with pedals--play everything at once, right? With pedals as well. And see how far you have to go. Ausra: Yes, because usually after sight-reading the piece, you might get an idea of how long it will take for you to learn it, and if you are able to learn it yet. Vidas: Mhm. Because a lot of people like difficult music, but they’re not ready for it yet. Ausra: Yes, yes. Vidas: If people like Handel’s Hallelujah Chorus, but they’re not ready for it yet, what would you recommend they do? Maybe choose a different piece or play just soprano and the bass? Ausra: Maybe just play those 2 voices. Vidas: I’m looking at the first page now, and it sounds like it would work, right? Because the bass is active… Ausra: Yes. Vidas: Foundational harmony; and the soprano is the melody. Ausra: That’s right. I think it would work just fine. Vidas: Mhm. Ausra: And later on, you could add other voices, too. Vidas: Exactly. Ausra: And pedals. Vidas: For that, you would need a very loud registration, in order to feel complete and solemn. Ausra: Yes. Vidas: With Principal Chorus? Ausra: That’s right, yes. Vidas: Okay. Do you think people could memorize this piece, or not? Ausra: I think so yes. Because I think the melody--everybody knows it by heart already, so it wouldn’t be so hard to memorize it. Vidas: Is it helpful to memorize a piece if you are going to play it in public? Ausra: I think it’s a big help. Vidas: Especially if you don’t have much experience playing in public. Ausra: Sure. Anyway, you will feel much safer, you know, if you have it memorized in your head. Vidas: Because playing in public--it’s sort of like an emergency. Ausra: Yes, it is. Vidas: Everybody is looking at you, and thinking some weird things about what you are doing… Ausra: Well, don’t scare people! Vidas: You know, only the best survives, though! Ausra: That’s right. Vidas: You see, maybe not everyone is able to play in public; but I think that everyone should try to play in public. Ausra: Sure. Vidas: Do you think that people should get scared of playing in public after they make a mistake or two? Ausra: Oh, no. But usually that’s what happens. Vidas: Uh-huh. Ausra: But, you know, nobody cares so much about those mistakes except you, who are playing at that moment. Vidas: Exactly. So don’t say, “Oh, I will NEVER play in public again!” after you played badly. Ausra: Yes. Vidas: Learn from your mistakes, and move on. Ausra: That’s right. You know, mistakes are always scary; but if you will survive them, the next performance will better. Vidas: Yes. Anything that doesn’t kill me makes me stronger! Ausra: That’s right. Vidas: Excellent. So guys, this was Vidas. Ausra: And Ausra. Vidas: Please send us more of your questions; we love helping you grow. And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 105 of #AskVidasAndAusra podcast.
Ausra: And today’s question was sent by Dan. He writes: “Hi Vidas, I’m curious as to what the piece is that you have at the opening and ending of every SOP podcast? It sounds quite interesting. Is it something which you’d improvised? If so, that’s very cool. Take care. Dan.” So Vidas, could you explain more about this piece? Vidas: When we started doing these organ training posts and podcasts, at first I didn’t know what kind of introduction and ending to include with the interviews that our guests provide. But I thought it would be cool to do an excerpt of my own piece. So basically, this is an excerpt, beginning and ending, of my Communion from the Mass for the Fourth Sunday in Lent. This is called Laetare Sunday. And...do you remember the story of how it came into existence, this piece? Have I told you? Ausra: I remember that maybe our friend asked you to for some music, to compose...or not? Vidas: Yeah, our colleague and friend Paulius Grigonis at one time--this was, I think, back in 2011--was going to go and play for a mass for the fourth Sunday in Lent, at one monastery in a small village of Lithuania. And they have just a 1-manual and pedal organ with a few stops. And he asked me what kind of music he should choose. So it’s always tricky to find some music for a small organ, right, Ausra? Vidas: Yes, it might be tricky. Ausra: So what I did--I’m always eager to suggest ideas, and one idea was, “Maybe I could compose something for him! And then maybe I could expand this composition into a Mass!” So I started doing this, and of course he was intrigued; and I created a few movements, and I will be linking this to this piece into the description of this conversation so that people can click and check out the score and the video on YouTube. So basically, yes, this is an excerpt from the Communion. It is composed in a modal style. Do you know how I choose some of the modes, Ausra? Ausra: No. I wondered how. Is the entire cycle of this mass based on one particular mode, or on different modes? Vidas: Basically, I took a Gregorian chant collection--I think it’s called Graduale--and then I found the chants for that Sunday, the collection of chants: Introit, Offertory, and Communion, that I knew people would be using in that monastery. So I used the melodies for the pieces that I created. And therefore, I used the modes of the pieces, you see. Ausra: Okay. So, how many movements does this Mass consist of? Vidas: It has four movements, because at the end it also has a postlude: Introit, Offertory, Communion, and Postlude. It’s like an organ mass; you could perform it on any Sunday, I guess, when you don’t have a choir, for example, and want to play more organ music. But since Gregorian chants melodies don’t usually have like, postlude themes for that (they usually have Introit, Offertory, Communion, and some other parts which were sung in the past, like Alleluia and Gradual), but I had to come up with some melodies for the postlude, too. So what I did is: I used, I think, all of the melodies which were present in this collection--Introit, Communion, and Offertory--and combined them in the Postlude; I think that’s what I did. But I only have 3 pieces: Communion, Offertory, and Postlude, available for the public, because the Postlude is in handwriting, in autograph. Ausra: So you have to work on it, to make it available for the public! Vidas: Yeah. I was kind of hesitant to complete the Postlude, because when Paulius was checking out my previous compositions (Introit, Offertory, and Communion), he found this music rather complex; and he had to practice a lot. And of course, postludes usually have to be longer and maybe sometimes more virtuosic; so he had a lot of trouble. So I don’t think he played my Postlude at that mass. But he played, I think, those 3 opening movements. Ausra: And another thing that I’m curious about is: this Mass is based on Gregorian chant, yes? And it’s composed for Lent time. Vidas: Yes. Ausra: So what about the Catholic church, in Lent--because you’re not supposed to play solo organ music during that period...? Vidas: That’s a tricky question, because this particular Sunday...There are 2 Sundays in Lent and Advent in which you can play on the organ. In Lent, it is Laetare Sunday, which is the fourth Sunday; and in Advent, it is the third Sunday in which it is allowed to play. So I kind of was lucky, that of course Paulius was invited on this occasion, for Laetare Sunday, right, for the fourth Sunday; and basically, those monks were willing to listen to solo organ music, as well. Ausra: That’s nice. I know about Advent--that you know, Catholics are much more free about Advent in general, about music during Advent; but I thought they are very strict about Lent, and I didn’t know about this particular fourth Sunday. Vidas: Mhm. Laetare Sunday is very joyful Sunday, apparently, because of the text; and it has some joyful texts, and therefore it is allowed to play on instruments, you see--not only sing Gregorian chants of choral polyphony. So...but I’m not sure if everywhere around the globe the Catholic Church has the same rule. You see, local churches, local dioceses, have their own regulations, probably; and it doesn’t necessarily apply to global Roman Catholic Church. We traditionally have had those strict regulations, and organists didn’t play during Lent and Advent; but I think now this is changing, right, Ausra? Ausra: Yes, the world is changing. Vidas: And in our church, we have one stop which is called Timpani, right? Ausra: Yes, yes! Vidas: Have you tried it? Ausra: Yes, I’ve tried it. I like it very much. Vidas: Which is apparently suited for processions during Lent and Advent, when the organ sound was not allowed. It’s like a drum. Ausra: Yes. When I had the last organ demonstration, I demonstrated that particular stop, and told this story. Vidas: So people are very curious… Ausra: Yes. Vidas: “What are those two pipes doing outside the instrument?” Ausra: I know, I know! And it’s quite difficult to explain! Vidas: And it’s really interesting why they are outside the case. Why do you think it’s so? Ausra: I think that in this case, they add more sound. Vidas: Because they are outside the organ case, right? Ausra: Yes, yes. You can hear them better. Vidas: And they are, I think, 2 bass wooden pipes, tuned on D and D♯. But not 16’ D, but maybe 8’ D, right? Ausra: Yes, yes. Vidas: Not very low pipes. So, how could people adapt this timpani sound to their organ if they don’t have such a stop? Can they play something with their feet? Ausra: Yes, you could hit like 2 notes in the pedal at the same time, and do a sort of tremolo. Vidas: Uh-huh. Because what happens, if you hit 2 adjacent notes in the bass in the very low register, like C and C sharp, or D and D♯, depending on your key of the piece, right? Ausra: Yes. Vidas: It has to fit the key--it could be F, G, E, any kind of low-sounding pitches. If you do those 2 notes that are a half step away, what kind of vibrations can you hear? Ausra: A sort of undulating sound--it’s truly a little bit like timpani, maybe! Vidas: Like a drum. Ausra: Yes, yes. Vidas: Because they’re not in tune, and they produce vibrations. Isn’t that the same principle that Unda Maris stop and Vox Celeste stops use? Ausra: Yes, I think it’s quite similar. Vidasa: Only, those Unda Maris and Vox Celeste stops are primarily used in the treble range, right? Ausra: Yes, and this is a low range. Vidas: Exactly. So guys, experiment with those stops that are available to you, and you can expand a lot of your organ possibilities this way, imitating instruments that are not present in your church. And if you would like to check out this Communion, here's is the link where you could listen to the video and see the score as well. Ausra: Yes, it’s a lovely piece. Vidas: Thank you. I will try to continue a few more of them. I kind of feel that this modal style fits well with chant themes, and they fit in the liturgy as well. All right… Ausra: Excellent. Vidas: This was Vidas! Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. Welcome to Secrets of Organ Playing Podcast #119!
Today's guest is Nicholas Papadimitriou, an organist, pianist and composer originally from Greece but currently studying and working in the Netherlands. Born in June of the year 1993, he started studying the piano at the age of six with his first teacher Domenica Mikaits. Two years later he joined an orchestra for young children, in which he participated for six years. At the age of thirteen, he joined the Philippos Nakas Conservatory in Athens where he studied the piano with Athanasios Grozas. At the age of fifteen, he started studying the Organ privately with Zafeiria Vassiliou in the Megaron Concert Hall and in the Anglican Church in Athens. In 2009 he enrolled in the Conservatory's Department of Music Theory where he studied with Michalis Rousselakis. During this time, he also participated in Choir Direction classes with Valeri Oreskin and has been a member of the Conservatory's choir. In 2012 he received his degree in Music Theory with a Distinction. In 2011 he was accepted in the Music Department of the Ionian University in Corfu, but he interrupted his studies there as he decided to pursue his goals abroad instead. After extensively exploring the possibilities offered by various music institutions around Europe, he decided to turn his attention to the Netherlands. In 2013 he was admitted to the Conservatorium van Amsterdam, where he has since been studying the organ with Jacques van Oormerssen, Pieter van Dijk, and Matthias Havinga. In this time he also studied piano with Peter Besseling, Improvisation and Basso Continuo with Miklós Spányi and followed conducting lessons with Lucas Vis and Jos Vermunt. In the period of 2013-2017, he participated in various concerts and has performed in venues such as the ‘Orgelpark’, the Waalse Kerk, the Oosterkerk and the Moses en Aaronkerk in Amsterdam. During this time he also participated numerous times in Masterclasses by Louis Robilliard. In September 2015 he was appointed Organist/Conductor in the Pastoor van Arskerk in Haarlem. In September 2016 he was appointed student assistant in the Conservatorium van Amsterdam for certain theory subjects. In October 2016 he started working as an Organist in the Pelgrimskerk in Badhoevedorp. In June 2017 he graduated from the Bachelor's and was admitted to the Master's Program, where he is currently focusing on Improvisation & Innovative Music Pedagogy. In the meantime, he also published his first book, 'The Misleading Tone', an innovative teaching method about keyboard improvisation. In this conversation Nicholas shares his insights about his misical experiments, storytelling and translating the message of the composer to the listener. Make sure you listen to the very end of this interview because I ask him about what are the 3 steps in becoming a better organist. I ask this question nearly every guest on the show and all of them give a different answer. Nicholas is not an exception. Listen to the conversation Relevant link: https://www.nicholaspapadimitriou.com
Vidas: Let’s start Episode 104 of #AskVidasAndAusra podcast. Today’s question was sent by David, and he writes:
“To answer your question, the most important thing for me, in playing organ, is to learn how to read music well. I handle up to 4 flats, and up to 3 sharps with little effort. Beyond that I have never learned to read music well at all. The second most important thing for me is to learn how to count well and consistently. I know what you will say: when you practice, miracles happen. And here is what I say: You are right! I want to take this opportunity to thank you for this wonderful online resource for those of us who are learning -- or in my case, re=learning -- to play the organ. I am about to settle a lawsuit and with my money award, I intend to purchase the Total Organist training.” Interesting idea! Ausra: Yes. Vidas: To win a lawsuit, and then to invest this money into organ training! Ausra: Yes, that’s a nice idea. I would never have thought about it! Vidas: Excellent, guys. So maybe first of all, our advice would be to sue somebody, and then get more money out of this lawsuit, and then invest in your organ training! Ausra: Well, I would not suggest you to do that. Vidas: Hahahahaha! Ausra: Anyway, it would cost you a lot of trouble. Vidas: Excellent! But if we’re serious, let’s talk a little bit about how to help David and other people who want to learn how to read music well. And the second part is, of course, related--how to count well and consistently. Because if you’re reading well but not counting, you’re still not playing well; and the other way around is also true: if you’re counting well, but you don’t read music well in treble clef and bass clef, what’s the use of that? Ausra: Yes, that’s right. So basically you have to do a lot of sight-reading, I would say. That’s the key to learn how to read music well. Vidas: It’s so difficult to stick to the good regimen of regular sight-reading every day... Ausra: Yes. Vidas: Like 1 piece a day for 30 days. For 60 days. For 6 months. For 1 year. Without interruption, you see? It’s so difficult. Whenever we advise our students in the school to do that, when we explain the benefits that they will reap very very soon, they sort of nod in agreement; but after 2 or 3 days, they quit. So what we’re proposing here is, of course, very difficult. First of all, you have to have a lot of passion for this: if you’re just mildly interested in getting better, it will not work. Right, Ausra? Ausra: Yes. Yes, and because David said that he has trouble while playing music with many accidentals; so what I could suggest for him to do is try to play some of the sequences that I put on YouTube. Because playing sequences will help you to get familiar and get more comfortable with various keys. Vidas: And you here touched upon a very important subject which also relates to organ playing and helps to enhance your organ playing and sight-reading abilities, which is: theoretical knowledge of harmony. Ausra: Yes. Vidas: Without that, if you just sight-read, and you don’t think about what you are sight-reading--what this note or another note or this measure means, in terms of theoretical concepts--you are doing something incompletely. It’s like learning to read a difficult language like Japanese--to read, right, without understanding the words. Ausra: Yes, yes. Vidas: It’s possible to learn how to pronounce those characters, right? And you can even learn to memorize a poem or two in Japanese, and surprise your friend you meet from Japan, and they will be very very pleased, right? When you say things in Japanese for them. But what’s the use of that, if you don’t understand the meaning of your saying, of your poem? It’s the same with sight-reading, right, Ausra? Ausra: Yes. Vidas: You have to understand what you are playing. If you don’t understand what each measure means--how the composer created this measure--you’re not connecting your brain with your fingers. Ausra: That’s right. And actually, it’s the same with counting and keeping a consistent tempo. Vidas: Why? Ausra: Why? Well, it means...if you cannot count well, it means that you’re still having some technical difficulties, issues with the piece that you’re working on; and you know, those technical difficulties (maybe looking at the accidentals) keeps you from counting, from feeling comfortable with the right tempo. So all these problems, they’re interconnected among themselves. Vidas: What you’re saying, Ausra, is probably to choose pieces that are not too difficult. Ausra: Yes, that’s right. You know, I looked at the hymnal a few days ago, because I wanted to prepare for my harmonization seminars for Lithuanian organists; and I realized that there are very few different keys that are used in, for example, the Lutheran hymnal. And basically, the key that would win the competition for popularity in that hymnal was probably F Major. Vidas: Mhm. Ausra: So you could not learn well other keys from just playing hymns. So what I would suggest for organists to do, if they, for example, would like to sight-read hymns--you can do that, but maybe you can transpose it. Vidas: Excellent, excellent idea. Ausra: Play in the home key, and then transpose it to a different key. Vidas: Major and minor second, up and down. Ausra: Yes, that’s right. Vidas: For starters. And then, when you get better at this, a major and minor third, up and down. Ausra: Because for example, as David wrote, that he has trouble playing from many--more than 3 or 4 flats and sharps. Let’s imagine you’re playing a hymn in F Major, and then you are transposing a half-step up--so it would be F♯ Major, or G♭ Major, with 6 sharps or 6 flats. That’s a very good training. Vidas: Right away, after 1 accidental, you have 6 accidentals. Ausra: That’s right. Vidas: Yeah. That’s a great idea. Not too many people bother with transposing hymns, I think. Ausra: Yes, that’s right. Vidas: Because it’s a complicated process; and that’s why we have created a course on transposition. Ausra: Yes, it’s a very important skill. It will really help you to be more comfortable with every key. Vidas: And it will help you with sight-reading, too. Ausra: That’s right. Vidas: Definitely. Thanks, guys! We hope that you will apply our tips in your practice--right, Ausra? Ausra: Yes, we hope so. Vidas: And please send us more of your questions by replying to our messages that you are getting as a subscriber to our blog at www.organduo.lt. And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 103 of #AskVidasAndAusra podcast. Today’s question was sent by Victoria, and she wants to know if fingering is important in improvisation. That’s a question that she sent me after hearing my livestreaming on Facebook, when I improvised for 2 parts (I think note-against-note) some of the Genevan Psalm settings, like a counterpoint exercise. Sometimes the tune was in the soprano and sometimes it was in the bass. So she probably thought she might try it at home, this kind of approach; but first, of course, she wanted to figure out if she has to choose the fingering wisely. What would you say, Ausra?
Ausra: Well, yes, you always have to choose the fingering wisely; but it’s sort of...not as easy when you are improvising things. But you could write fingering for an original Psalm. Vidas: For a chant? Ausra: Yes, for a chant, yes, a Psalm tune. Vidas: Exactly. It’s like a theme. The theme is given to you; you can notate the fingering ahead of time, and add one additional voice (or two, three, four voices) in addition to the chant for yourself at the time you’re playing in improvisation, spontaneously. And as Ausra says, it’s difficult to do this with perfect fingering if you don’t have experience. Ausra: That’s true. Vidas: But in my case, for example, it wasn’t difficult, because I use some basic principles: I avoided using thumbs on the sharp keys, I avoided finger substitution and finger glissandos...and that’s about it, I think. Those 3 principles allowed me to create a nice, articulate legato, because the style, of course, was early style. Ausra: Did you have to think about fingering while improvising these Psalms, or not? Vidas: Uh...That’s a great question, because I had to think about other things! If you have to think about fingering when you improvise, of course, you are doing something wrong. Because in improvisation, fingering has to come naturally. It’s a byproduct, right? You play your music, and you figure out how the music will go--the flow of the music--ahead of time, when you’re playing; but your fingering principles should be set, basically, in your mind, well ahead of time, with your practice. So Victoria has, of course, a long way to go in this; and she needs to work on many many pieces of organ repertoire first, to get familiar with this foundation of fingering--and even pedaling, too, if she wants to play with pedals. Ausra: Yes, I couldn’t agree more--you build up your technique while you are learning organ repertoire, and then later on you can apply the same things, the same rules, to your improvisations. Vidas: Some people also like exercises, like scales and arpeggios with hands and feet and chords; that’s also part of any musical composition, and they basically isolated specific technical ideas into one exercise. And some people like to practice that, too, and it gives good results. Some people don’t, because they are bored with mechanical stuff, so they jump into music right away; but there’s a danger of straining your hands, because your hands will be cold at first--you have to warm up. So what I like to do is to warm up with improvisation. Slowly at first, gently, maybe, for a few minutes; maybe for 10, 15 minutes, whatever I like to do; and then I continue practicing repertoire--with, of course, correct fingering. Ausra: Yes. So correct fingering is definitely important, but don’t try to learn the correct fingering while improvising. You have to do it with your repertoire. Vidas: Maybe just keep the basic principles in mind, right? Ausra: Yes. Vidas: If you know the style that you will be improvising in--let’s say, Baroque style, right-- the basic principles which help you to achieve the desired articulate legato, and the 3 principles we adhere here to, are simply: avoid using the thumb on the sharp keys, avoid using finger substitution, and avoid using finger glissandos (because that leads to legato articulation). If you are improvising in Romantic style or modern style, what kind of fingering could you use, Ausra? Ausra: Then, of course, you would have to do all the things that you would be avoiding in the Baroque music: glissandos, finger substitutions...play as much legato as possible, especially if it’s Romantic style. Vidas: So first of all, you are free to use the thumb on the sharp keys. Ausra: Yes, definitely Vidas: But it’s not that convenient--it’s not that comfortable. Ausra: But you cannot avoid that. Vidas: If your key or the mode has many sharps or flats, then you are stuck with sort of modern fingering. Can you avoid finger substitutions and glissandos in modern music, too? Sometimes? Ausra: Well, very rarely. Usually you have to substitute. Vidas: Because...why? Because of course, the texture is thicker. Ausra: Yes, yes. Vidas: But if you are improvising in 2 parts--I’m not sure if there are a lot of Romantic pieces for 2 parts. That’s a little bit different style, right? Ausra: Yes. Usually you have thicker texture and more chords. Vidas: At least 3 parts-- Ausra: Yes, that you have to play legato. Vidas: So whenever 1 hand plays 2 voices, or even more voices, you have to almost always use finger substitutions and glissandos. Ausra: That’s right. Vidas: But in 3-part texture, if your RH, let’s say, plays just 1 solo line, you could get away without finger substitutions and glissandos, right? Basically, don’t use finger substitutions and glissandos as a crutch instead of right fingering. Because sometimes people don’t even bother to think about fingering, and they use all kinds of basically incorrect versions--accidental fingerings. Right? This is not healthy, don’t you think? Ausra: Yes, that’s right. Vidas: Why? Ausra: Well, I think I mentioned this thing before--that if you’re playing with accidental fingering, it means that you’re playing the same thing over and over again with different fingering, so you will never get comfortable with that piece, or your process of learning will be very slow. Vidas: True. So figure out your fingering ahead of time. Write it down, especially the difficult spots. And that’s why we also like to help you practice with correct fingering, by providing you our choices of fingered and pedaled scores. That’s why they are so helpful for people. So basically, in modern music, you can get away without finger substitutions and glissandos only when the texture is rather thin. So in 2-part texture in modern music, there are some biciniums, right? You can do well with simple fingering, right? But then if you have chords and progressions when 2 voices are playing with 1 hand--it’s another story; you have to do all kinds of things. But prepared things in advance, right, Ausra? Ausra: Yes, that’s right. Vidas: So, for example, next time we will be playing a recital only of Baroque music, right? Ausra: Yes. Vidas: So we will not use any of those finger substitutions and glissandos in the November recital. Ausra: Well, I’m playing Mendelssohn… Vidas: Oh, you’re playing Mendelssohn. Are you using finger substitutions there? Ausra: All the time! Vidas: Right. It’s too thick. Ausra: Yes. Vidas: It’s a different story. So yes, we are also applying our own tips in our practice, you see guys. And whenever we play Baroque music (which of course we do regularly), we avoid finger substitutions and glissandos. And when improvising, also, keep the same fingering principles in mind. Ausra: Yes. Vidas: Thanks, guys! Please send us more of your questions; we love helping you grow. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Before we go to the podcast for today, I'd like to announce the news that our 5th e-book is finally ready.
"I'M A SLOW LEARNER" (And Other Answers From #AskVidasAndAusra Podcast) People who find our podcast helpful, will also enjoy having all these transcripts in one place for future reference. This e-book is available here for a low introductory pricing of 2.99 USD until November 8. All our other e-books in one collection are located here. Here’s what you’ll learn in this e-book (you'll receive PDF, MOBI or EPUB files to read it on any device): 1. I‘M A SLOW LEARNER 2. I SEEM TO BE SOMEWHAT DYSLEXIC BETWEEN MY FEET AND MY LEFT HAND 3. CONVENIENCE RUBATO - SLOWING DOWN, WHEN IT GETS DIFFICULT? 4. DO YOU HAVE SOME TIPS FOR MEMORIZING EASY PIECES? 5. IS BWV 565 TOO ADCANCED FOR MY LEVEL? 6. I WOULD LIKE RECOMMENDATIONS FOR SOME BACH PIECES WITH INTERESTING PEDAL PARTS THAT ARE ACCESSIBLE FOR PIANISTS 7. MY COORDINATION IS BEGINNING TO FAIL, SO I JUST STICK TO EASY, SLOWER, LESS COMPLEX PIECES 8. CAN I DOWNLOAD YOUR SCORES AT A LATER DATE? 9. THEIR WAY OF PLAYING HYMNS SOUND TIRED AND FUNERAL-LIKE 10. I'VE RECENTLY BEEN DIAGNOSED WITH AN ULNAR COMPRESSION WHICH IS AFFECTING THE SENSATION AND DEXTERITY OF MY RING FINGER AND LITTLE FINGER ON MY LEFT HAND 11. WHAT TYPE OF SHOES YOU SHOULD WEAR WHILE PLAYING ORGAN PEDALS 12. HOW TO READ BASSO CONTINUO 13. HOW TO CREATE ALTERNATE HARMONIZATIONS AND DESCANTS FOR THE LAST VERSE OF THE HYMN 14. WHAT ARE SOME TIPS FOR BUILDING UP SPEED, AND EXPECTATIONS FOR HOW LONG THIS SHOULD TAKE – WEEKS, MONTHS? 15. GIVING PRESENTS TO YOUR ORGANIST FRIEND 16. I LACK PATIENCE 17. I STRUGGLE WITH LACK OF MEMORY 18. I WOULD LIKE TO PLAY REASONABLY DIFFICULT SCORES AT FIRST GLANCE 19. I STRUGGLE WITH HIGHLY SYSTEMATIC AND LABORIOUS PRACTICE 20. LEARN TO SAY “NO” Please let us know what will be #1 thing from our advice you will apply in your organ practice this week. This training is free for Total Organist students. And now let's go to the podcast for today.
Vidas: Let’s start Episode 102 of #AskVidasAndAusra podcast. Today’s question was sent by Paul, and he writes:
“Dear Vidas Pinkevicius, thank you first for your good and precise advices. I spend 2 weeks in Italy, so it was not possible for me to answer immediately to your question. My dream: playing in such a manner, that people who listen to it would like to hear this kind of music in the future.” So, Ausra, it’s a very broad dream, I would say, right? Ausra: Yes. Vidas: Basically, it means, probably, to play organ in a way that people would feel compelled to come to your concert or recital or church service where you play in the future--right? Ausra: Yes, that’s right. But it’s sort of hard to please everybody. Maybe some of your audience would fall in love with your playing; but probably not all of them. Vidas: Definitely, because everyone has different tastes. Ausra: Yes. Vidas: And we both also have a little bit different tastes, right? Because you like some things that I like less, for example, right? Or vice versa. So that’s a perfectly normal and natural thing. Do you think, Ausra, that it’s wise to keep hoping that everybody would like your playing? Every listener? Ausra: I would be glad if at least some of the people who came to my recital would love it. Vidas: So when you play, for example, a recital--solo or together with me--do you think about your audience at that time, or no? Ausra: During my exact performance? Vidas: No. Ausra: No, but I think about my audience before a recital, while I’m selecting pieces for my recital. Then I think about them a lot. Vidas: And what’s your ideal listener? Do you have, so to speak, an avatar, or a character or persona in mind, for whom you would like to play? Or is it a general, symbolic person? Or maybe very specific: your friend or colleague, or a relative? Ausra: Well, no, I don’t have that particular imagination about an exact, concrete person. But what I keep in mind: I know I’m creating in my head, a sort of image of that person who might come to my recital. Vidas: And what is he like, in general? What kind of music does he or she like? Ausra: Various, actually; various styles, and so I’m trying to not play just one style of music, but to add various genres from different styles. What about you? Vidas: My opinion changed over the years. At first I felt compelled to play for a listener, an imaginary listener who would like to hear things that I like. Sort of similar to me. And because my taste also changes, this perspective also changed with the years. There was a time when I liked to play only early music, and there was a time when I liked to play only modern music; and there was a time when I liked to improvise long recitals. I’m not saying I don’t like these things anymore. I do, but not one or the other exclusively. Because if you do that, your audience is very limited, right? Ausra: That’s true. Vidas: You’ll maybe have an audience of one... Ausra: Mhm… Vidas: ...Yourself! Ausra: Yourself, yes, haha! That’s a possibility, too! Vidas: Maybe your family members, one or two, will come. But still I doubt it… Ausra: Right. Vidas: Because everyone is busy, and keeping their own things in mind; and you have to think something different, right, for everyone. Ausra: Yes, because you never know what people will expect from you. Because I have heard a few times, for example, people talking: “Oh wow, he’s playing without music score--he has such a good memory!” But then on the other hand, I also have heard such talk as, for example, with a person playing from sheet music--people went, “Wow, he can sight-read music! That’s amazing!” So you never know what people will like. Vidas: This is a good point, because it’s pointless to try to please everybody. We can’t even begin to please, because everyone is so in their own world; and I think the best we can do is provide something of quality. Quality is very important. Quality, but to have maybe a general direction where we would like to go with our public performance. And of course, it has to have an arc: like in any story, you will have to have a beginning, middle, and an end, and nice contrast and variety. Right? So your recital also should look something like that. It should not be in one mood or one tempo or one registration, don’t you think, Ausra? Ausra: Yes; and of course, first of all, you have to have a high standard, as you mentioned before, and you have to try to please yourself, to be happy with what you are doing. Vidas: And also, when you play a recital, I think it’s wise to select pieces that add value to the listener, right? I think the general direction should be a mix of things from a variety, maybe, of organ schools and historical periods; because then, a person will find something that he or she will like. We have so many pieces in the repertoire, right? From seven centuries ago. And it would be nice to include something from many centuries--not all, but many. Ausra: Yes, that’s true. And you need to play various repertoire. And that way, somebody can connect with some of the pieces that you’re playing, and another person will connect with another piece that you’re playing in your repertoire. But this rule does not apply if you’re playing on a historically oriented organ--for example, a replica of some historical instrument, or on a real historical instrument. Then you have to choose repertoire appropriate for that instrument. Vidas: This is true for the organ, right? Because if you listen to piano recitals, every piano is more or less similar, right? It doesn’t have such variety as organ. And pianists can play basically everything on every piano, because every piano has about 88 keys. With organ it’s different. Some organs have 1 manual, some 2, some 4, some 5, or even more; and the range of the keyboard is different: 4 octaves, even 5 octaves. And the pedalboard is different: some organs have short octaves in the bass. Some even have split semitones, where D♯ is not the same as E♭, for example. So all those things have to be taken into consideration when you think about repertoire for your public performance; and also thinking about your audience, so that strangers who will come to your recital would not be bored. Ausra: Yes. It’s very important. Vidas: Because it’s nice to imagine you’re playing for friends who know you, who trust you, who like you. And of course, this might happen from time to time, when you are, for example, contacted to play a personal recital, a private recital for a group of friends (for a birthday party, let’s say). Then they will listen to almost anything you play. But in the majority of cases, you have another situation, right? That people will come to your recital, some of whom will never have heard about you before. And then, they have this preconceived notion about organ music: what they have heard about it in the past, what they like, sort of their preferences. And since everybody’s sort of different, it’s very difficult to please everybody this way. So Ausra, for example, our next recital when we play together in a couple of weeks, right? Ausra: Yes. Vidas: In about 2½ weeks. How do we plan this program, and what principles did we have in mind? Ausra: Well, we played some pieces solo--just played some solo pieces and some duets. Vidas: What we thought about it, I think, is that we’ll begin with the most pleasing musical piece that we’ve found on this program, right? Ausra: Yes, that’s true. Vidas: Definitely, because it’s an aria or duet from Bach’s Cantata No. 80, and we liked it so much; and we thought it would be nice to add it at the beginning. Because at the end, what did we choose? Ausra: Sonata by Mozart. Vidas: For 4 hands. Ausra: Yes. Vidas: And it’s a different piece, sort of loud-soft-loud registration, 3 parts, 3 movements; and it fits for the end very nicely, because it has this character of ending, at the end. So we have the beginning and the end figured out. And then in the middle--what did we do? Can you elaborate a little bit? Ausra: Yes. We play some solo pieces--for example, I’m playing Sweelinck’s Fantasia Chromatica; and that’s a hard piece for listeners to listen to. Vidas: Mhm. Therefore it’s not the first one, right? Ausra: Yes. Because otherwise I’m afraid that everybody would leave, right at the beginning of our recital! Vidas: And then, after this difficult piece, right, we again play a pleasing piece by Bach: this second aria. Ausra: Yes. Vidas: Which we arranged from the cantata. And so on. We sort of alternate between mentally difficult pieces and pleasing music; and therefore, we can also hope that our listeners will also be interested and not be bored, and be compelled to come again to our recitals, because we have this variety and contrast. Right? Ausra: Yes, that’s right. Vidas: And whatever you do, don’t play too long. It’s better for your recital to be too short than too long. Ausra: Yes. It’s better that people would leave your recital longing for more music, than the other way. Vidas: Exactly. So--wonderful, guys! Please send us more of your questions, we love helping you grow. And this was Vidas! Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: And let’s start Episode 101 of #AskVidasAndAusra podcast. And today’s question was sent by Paul, and he writes that his challenge is mainly his age, because he is 75 years old. First of all, Ausra, isn’t that great, that people still continue to improve when they are at this age?
Ausra: Yes, that’s wonderful. Vidas: Do you think it’s too late to get better at this age? Ausra: I don’t think so. Vidas: Why? Ausra: Well, because I know some people who are 75, and they are very active, and are improving every day. Vidas: And there are opposite situations, where people are just staring at the TV screen all day long, and they get weaker and weaker every day. Ausra: Yes, I think some teenagers are older than some seniors. Because they just spend all day long playing with their smartphones and PlayStations and so on and so forth. Vidas: So, the fact that Paul sent us this question already shows us that he’s on the right path: basically, he has enough curiosity to improve himself. Ausra: Yes. Vidas: He is not satisfied with the current state, and he wants to get better all the time...Maybe faster than is possible, right? Ausra: Yes. Vidas: Maybe we should just basically support him, and inspire him to look at the situation from outside himself and really appreciate how far he has come. Ausra: That’s true. Because in general, I will be very happy if I live as long as to reach 75 years old; that’s a gift from life already, and it’s so nice that he’s still able to do things. Vidas: So, what helps? Of course, we’re not 75 years old yet, and we don’t know how people feel at this age; but general pointers could be: keep moving. Ausra: That’s true. Vidas: Keep being active, moving in terms of physically, and also mentally. Ausra: Yeah. Vidas: So mental practice is, of course, on the organ, very well. But also physical practice, as well. Ausra: That’s true. Do you think, Vidas, that practicing organ slows down ageing a little bit? Vidas: While you get older and older? Ausra: Yes. Vidas: I think it should, because your body gets a little bit weaker; but there are ways to postpone that process a little bit. Ausra: And do you think organ is a good way to help do it? Vidas: Yeah, especially because it’s primarily a mental activity. You’re looking at the symbols of music on a sheet of paper, which don’t mean anything to other people, perhaps; but you translate those symbols into meaningful musical ideas. So this is primarily a mental activity, which of course can just expand your mental capacity over time; of course that helps. Ausra: Yes, I personally strongly believe that organ may reduce the risk of such diseases as Alzheimer’s and Parkinson’s and multiple sclerosis--not to prevent them entirely, but to slow down the development of those; because while playing organ, you always have to basically use your coordination to coordinate your hands and feet, and look at the music; and it helps your brain keep moving. Vidas: Remember in our Unda Maris studio, we have a senior person who is maybe in her--I would say, maybe early 70s? She maybe started playing the organ not long ago, but she has trouble walking, right? Ausra: Yes. Vidas: She walks with the help of canes. And she enjoys playing the organ a lot, because of all those reasons, of course. It’s a good exercise mentally, and also physically. Ausra: Yes, that’s true. It’s better than sitting at the piano, because your feet are moving, too. That’s a great advantage, actually. Vidas: Yes. So don’t feel like you have stopped your progress, Paul, and others who are this age--maybe older. We have a lot of students who are even older, in their 80s, and even somebody who is 90 (or older) years old! So just keep practicing, keep getting better--1% of your efforts every day; and by the end of the year, you can look back, and you will see how you will have progressed a lot. Thank you so much, guys, keep sending us your questions; we love helping you grow as organists. This was Vidas. Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen.
Vidas: Let’s start Episode 100 of #AskVidasAndAusra podcast. And this question was sent by Paul, and he writes that he is a slow learner. First of all, let’s celebrate, a little bit, our small achievement: 100 podcasts of simply helping people to grow in organ playing, answering their questions. Isn’t that great, Ausra?
Ausra: Yes, it seems so incredible that it’s already 100 podcasts. I don’t know how much we have to talk about! Vidas: When we first started, we didn’t realize we would go that far, right? It was supposed to be a limited number of episodes--maybe 10, maybe 20. Ausra: Yes, maybe 30, but not 100! Vidas: Yeah, people kept writing to us and kept asking these questions, and we were amazed, right? Ausra: Yes; and it’s really nice to help people, and especially it’s nice to receive a response to our answers. It’s very nice. Vidas: Yeah, and sometimes we put those nice letters we get into our folder called “Love Letters,” which is basically many thanks from people and encouragements for us to continue. So thank you so much, guys, this is really wonderful and we appreciate it a lot. Ausra: Yes, thank you so much! So now, let’s go back to Paul’s question. And really...what do you think he means by being a slow learner? Does he compare himself with somebody else? Vidas: Exactly. How do we know if we learn something “slowly” or “fast?” Ausra: Yes, how do we set those boundaries? Vidas: For example, let’s say a piece is 5 pages long, and we learn it in 1 month. Is it fast or slow? Ausra: So, I think it’s always a question mark… Vidas: Relative? Ausra: Yes, a very relative thing. Vidas: Do we advise people to compete with somebody else? Ausra: Well...yes and no. Because for some people, having that competition is a good thing, because it makes you to work faster and to develop necessary skills faster. But for other people, that competition might just simply destroy all passion for organ. Or anything. Vidas: I think the best competition is with ourselves, right? Ausra: Yeah. Vidas: Because we have to compare ourselves to ourselves yesterday, or ourselves a week ago, or a month ago, or a year ago. Only then will we know our true advancement, true level of how we progress, if we are on the right path or not. If we compare ourselves with other organists, who we listen to on YouTube or in recitals...as Ausra says, sometimes it is inspiring, but more often than not, it is discouraging, I think. Ausra: Yes. If, for example, we would have to compare our childhood experience in Lithuania and our experience while studying in the United States, what could you tell about all that--teacher and student relationship? Vidas: In Lithuania, there were several organ professors at the Academy of Music, and each of them had their studio organ class--maybe 5, maybe 6 people total. And generally, they were closed among themselves, right? They felt sort of a competition between other students of other professors. There wasn’t any atmosphere of collaboration in this kind of setting. Whereas in America it was completely different, right Ausra? Ausra: Yes; and in Lithuania, I always felt that all professors, no matter with whom you studied, would say negative things to you, like, “You did that, and that, and that, and that, badly!” Vidas: So that’s European--we have presenting problems... Ausra: Well, maybe not the European way, but Lithuanian, definitely, yes. Vidas: Ex-Soviet way, basically; because in earlier times, talking about negative things was very common, and not so much of optimistic, inspiring things. Ausra: So, how did you feel about it? Vidas: To me, I always wanted more freedom; so whenever somebody tried to push me, I kind of resisted, because my mind wanted to be free from those boundaries, and I wanted to explore myself all those musical adventures. So in that case, we had one organ professor, Gediminas Kviklys, who was the best, because he let us do whatever we wanted. Of course, by that time we were developed enough--and could be responsible enough--for our own progress. In America it was a completely different story, because it was so supportive and collaborative between organ studios; right, Ausra? Ausra: And that supportive atmosphere--telling good things, nice things to students--made you want to do even more, and to give yourself more, and to practice more, and to become the best. And it was very nice. Vidas: But other colleges and conservatories have different environments, because some of them are very competitive. Ausra: Yes, that’s true. Vidas: And I’m not sure how students get along in those organ studios, but they must feel some kind of competition, because they constantly compete in international and national organ competitions among themselves, right Ausra? Ausra: And that’s what I told you before: for some people it’s a very good thing, because they want to compete all the time. They want to feel that pressure. Vidas: Because they don’t have enough pressure from themselves? Ausra: Yes. Vidas: They have external motivation. Ausra: But actually, I don’t feel that I have to have that external pressure, because it makes me feel guilty all the time and just incompetent. Vidas: That’s true for me, too. I want to be free, and I want to do the things that I want to do. So, I then compare myself...with myself! Ausra: Yes, so like Paul said, be learning slowly--that’s your way to do it. And it’s ok. Maybe you will become a faster learner with time, maybe not. But don’t despair. Just keep doing what you are doing. And it’s much better to learn things slowly but correctly, than to learn them faster and incorrectly. Vidas: Of course, our daily efforts compound; and if you just get better one percent a day, the next day you also get better one percent; but plus that fraction of the percent you got better yesterday; and a week from that day, you get better also one percent, but also plus all those seven percent combined. So it compounds; and after one year--I don’t know, I have to do the math, but--it’s more than one thousand percent! Ausra: Definitely, yes. Vidas: If you do this. Ausra: What could accelerate your progress a little bit, maybe, is if you could find time to practice a day not once, but let’s say, twice; let’s say one time in the morning and one time in the afternoon/evening. That might do things faster. What do you think about it, Vidas? Vidas: It’s an excellent strategy, because our minds can only focus for so long without breaks. So maybe in the morning, for some time before you get tired; and then, you see, your day will already be a good day, because you have already practiced in the morning. You already did the thing that matters to you the most. And then, if anything happens and you don’t have time to practice in the afternoon or in the evening, it’s still a day not wasted, in this case. So early morning practices are always the best; and then if you can do a second practice, that’s even better. Ausra: Yes; so try that, and you’ll see if it works for you. Vidas: Yeah, it doesn’t have to be a very long practice, right? Maybe for half an hour before you take a break and continue--that’s completely possible, right Ausra? Ausra: Yes. Vidas: Thank you so much, guys, for listening to us, for applying our tips in your practice. It’s really a small milestone we have achieved, with 100 podcasts of answering your questions. Without our listeners it wouldn’t be possible. And keep them rolling--keep sending your questions to us, because we want to reach maybe another hundred, right Ausra? Ausra: I’m not thinking so far ahead, but...it would be nice! Vidas: But most importantly, we hope you'll do something with this advice. It really makes a difference. Excellent. This was Vidas! Ausra: And Ausra. Vidas: And remember, when you practice… Ausra: Miracles happen. |
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Drs. Vidas Pinkevicius and Ausra Motuzaite-Pinkeviciene Organists of Vilnius University , creators of Secrets of Organ Playing. Our Hauptwerk Setup:
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